PN 4162 
.P27 
Copy 1 



LIBRARY OF CONGRESS. 



Chap. Copyright No. 

SheltP.N 4> t? ^ 

^Vz\ 

UNITED STATES OF AMERICA. 



THE VOICE 



Speaking and Singing. 



A TREATISE 



Self- Instruction and Teaching Others 



The True Art of Vocal Culture. 



Rev. John S. Parker, A. M., 

Conductor of the Viroqua Chautauqua Assembly, 
Viroqua, Wis. 



*'7<W 



Publisher, I,. R. GOTT, 
Treasurer of the School Board, Viroqua, Wis. 



PRICE: TWENTY-FIVE CENTS. 



'Copyright Secured by the Author, 1895. 



The Voice 

IN 

Speaking and Singing. 



The Principles At the Foundation of 

Proper Voice Production, 

arranged in ten lessons 



Ten Successive Weeks of Teaching or Practice. 



AUTHOR : 

Rev. John S. Parker, A. M., 

Conductor of the Viroqua Chautauqua Assembly. 
Viroqua, Wis. 



Publisher, L,. R. Gott, 

Treasurer of the School Board. 

Viroqua, Wis. 



PRICE: TWENTY-FIVE CENTS. 



Copyright Secured by the Author, 1895. 



•T*7 



IMPORTANT INTRODUCTORY REMARKS. 



After years of teaching, both East and West, 
without meeting a pupil in whose case the instruc- 
tions have been unsuccessful, the author puts his 
system before the public. It is not the discovery of 
a new method of voice production, but an original 
arrangement of exercises, so that, one naturally 
following another, the correct practice of each one, 
where needed, being tested by readily observed phy- 
sical movements, the true method of voice production 
may be mastered without a teacher. 

The first five exercises train the organs which must 
be used in all proper vocalization, and should be 
practiced in the order given, taking one week for 
each lesson. 

A THOROUGH MASTERY OF THE SECOND FIVE EXER- 
CISES, taking one week for each lesson, 

Saves unnecessary wear upon lungs and vocal 
chords ; 

Gives the means of breaking up a monotonous 
delivery ; 

Enables one who is hoarse from cold to speak or 
sing, for an ordinary performance, without irritating 
the organs of speech ; 



4 THE VOICE IX SPEAKING AND SINGING. 

Gives command of that range of tones which fits 
the speaker, with perfect ease and readiness, to adapt 
the voice to the requirements of emphasis, and the 
variations in the size of auditoriums and the numbers 
of audiences ; and 

Makes it possible for the singer to use the required 
volume for any building, without changing the key 
to be employed in rendering the piece as written. 

The treatise is especially recommended for use 

by:— 

Those who employ what arecalled "head tones "; 

Any who use pitch for emphasis and sustained 
passages ; 

All who find it difficult to make themselves heard 
before large audiences ; 

Persons whose vocal organs have failed them 
because of wrong methods of voice production ; 

Those who use the proper method but who do not 
know how they came to do so, nor how to instruct 
others concerning its use ; and 

Teachers who would gladly have a systematized 
plan of teaching, which can not fail to render their 
instruction successful. 

The following practical suggestions are of- 
fered :— 

Stand erect, as one would stand against the wall, 
touching it at every possible point of contact, from 
head to heels. 

Before speaking or singing in public take no food 
within two hours preceding the performance, and 
then not more than the white of an egg thoroughly 
beaten with a little sugar, a cup of tea or coffee, or a 



THE VOICE IN SPEAKING AND SINGING. 5 

glass of milk or water, hot or cold, and a small piece 
of bread and butter. 

After an evening performance take a very light 
lunch. 

For temporary hoarseness use "Frog in Your 
Throat? " Hance Brothers & White, Phila., Pa. 

If delivery is affected by chronic nasal catarrh, 
cleanse the nostrils daily, and especially an hour 
before speaking, with a douche of warm salt water, 
in the proportion of a teaspoonful of salt to a half 
pint or a pint of water. 

If an elongated palate troubles, gargle a solution 
of a tablespoonful of saleratus in a glass of cold 
water daily, and especially an hour before the public 
use of the voice. 

The daily practice of the physical exercises laid 
down in Blakie's " How to Get Strong and How to 
Stay So," by strengthening the whole body, will in 
many cases tone up the organs of speech. 

The exercises of the ten lessons following may not 
properly be practiced by ladies who persist in tight 
lacing. 

All the exercises of these lessons should be taken, 
after the first ten weeks, daily, if possible, through- 
out life. 



THE VOICE IN SPEAKING AND SINGING. 



TEN WEEKS' PRACTICE. 



LESSON FIRST. 

Stand erect, do not bend the arms either at wrists 
or elbows, slowly raise and lower the shoulders one 
hundred times. This exercise strengthens the upper 
muscles of the chest and back, and makes it possible, 
eventually, to sit and stand with ease in the erect 
position. 

Practice upon arising in the morning, before din- 
ner and upon retiring at night. 

LESSON SECOND. 

To the first exercise add each time the following 
practice : — 

Extend the arms horizontally in front of the chest, 
letting the palms meet, then swing them backward, 
as nearly horizontally as possible, till, without turn- 
ing at the wrists, thebacks ofthe hands meet. Repeat 
this movement fifty times at each practice. This gives 
strength to the muscles which raise the chest, as re- 
quired in the next lesson. 

LESSON THIRD. 

Three times daily add to the exercises previously 
given the following : — 

By a purely muscular movement, without taking 
a breath each time, rapidly throw the chest upward 
and forward. Repeat this fifty times at each prac- 
tice. In this exercise, when the chest is moved upward 
and forward, the abdominal muscle is drawn in 
toward the backbone. 



THE VOICE IN SPEAKING AND SINGING. / 

The dotted line in Fig. I shows the outline of the 
front of the body when this takes place. This is the 
position in which the chest should be retained, not 
only while speaking and singing, but also when the 
organs of speech are at rest. 



LESSON FOURTH. 

Three times daily add to the exercises previously 
given the following: — 

Stand erect, throw the chest upward and for- 
ward, as in Lesson Third, retain it in that position, 
and alternately move the abdominal muscle in, toward 
the backbone, and out, away from it. The greatest 
movement of the abdominal muscle, in this exercise, 
should not be low down, but as near the waist line 
as possible. This exercise is constantly used in all 
speaking, singing and breathing, properly executed, 
and must be mastered. It is a discouraging practice 



8 THE VOICE IN SPEAKING AND SINGING. 

because of the temporary soreness it occasions ; but 
at the end of a week or two of faithful, and not too 
severe, practice, the soreness passes away, and it will 
then be as eas}' to move the abdominal outline, at 
the waist line, from two to three inches, backward 
and forward, as to move the fingers. 

It is impossible to accomplish this practice with- 
out a slight accompanying movement of the chest. 
This is also true in its practical use in speaking, 
singing and breathing. But it must be observed this 
accompanying movement is not that heaving of the 
chest which accompanies the inhalation and exhala- 
tion of air in " chest" as distinguished from " abdom- 
inal " breathing. (See Lesson Fifth.) 

The dotted lines in Fig. II show the extremes of 
the inward and outward outline of the abdomen, at 
the waist, in this practice. Repeat this exercise not 
more than twenty times at each practice. 



'i 



THE VOICE IN SPEAKING AND SINGING. 9 

LESSON FIFTH. 

Three times daily add to the exercises previously 
given the following : — 

Stand erect, throw the chest upward and forward 
as in Lesson Third, retain it in that position as in 
Lesson Fourth, expel the air from the lungs, not by 
lowering the chest, but by drawing in the abdominal 
muscle as in Lesson Fourth ; then inhale all the air 
possible, not by raising the chest, for that is already 
raised to the highest position, but by moving the 
abdominal muscle forward, as, also, in Lesson Fourth. 
Continue this exercise of alternately expelling and 
inhaling the air, as explained, one hundred times at 
each practice. After this week's practice make this 
the constant method of breathing. It makes easy 
work for the lungs in all vocal exercise and saves the 
strain otherwise put upon the organs of speech. The 
inward and outward motion of the abdominal 
muscle causes a corresponding upward and down- 
ward motion of the diaphragm; consequently, the 
real work of voice production is accomplished by this 
upward motion of the diaphragm forcing the air past 
the vocal chords, which are simply held in the posi- 
tion for the production of the sound desired, when 
the air shall thus pass upward; while inhalation 
becomes, simply, not a drawing in, but an inrush, of 
air as the diaphragm is lowered, when the air has 
been expelled. If there be difficulty in acquiring this 
method, it will be easy to conquer by lying on the 
back, on couch or bed, placing one hand on the 
abdominal muscle at the waist line, and, by gentle 
downward pressure, assisting in the expulsion of 



10 THE VOICE IN SPEAKING AND SINGING. 

the air, leaving off the pressure as the air again rushes 
in and the abdominal muscle rises in the act of an- 
other inhalation. This must be mastered. 

LESSON SIXTH. 

The first four lessons should hereafter be practiced 
at least once daily for the remainder of life. The fifth, 
as already stated, is to be the constant habit, walk- 
ing, running, sitting, waking, sleeping, silent or using 
the voice, from this time forth. The lessons, from 
the Sixth to the Tenth, inclusive, should be practiced 
daily, at the most convenient time and place, and 
when the stomach is not full of food. The Sixth is a 
test lesson, antf, if mastered, the way to easy sound 
production is at command. 

Take the position of Lesson Third, arrange the 
lips and vocal chords for uttering the pure, orotund 
"O" sound, on the lowest key at command; expel 
the air as in Lesson Fifth, and the sound produced, 
if the directions have been accurately followed, will 
be the pure sound required. 

There are two physical tests of correct practice in 
this exercise. 

First : If the sound produced be the proper one, 
the so called " Adam's apple" will move as far as 
possible down the neck and remain there until the 
sound has ceased. This may be observed by touch- 
ing it with the finger tips. 

Second: When this sound is properly produced 
there will be no harsh, rasping, irritating sensation 
in the throat. 

Once having it at command, begin it at the com- 
mencement of exhalation and continue it as long as 



THE VOICE IN SPEAKING AND SINGING. 11 

there is any air in the lungs, and practice it one hun- 
dred times daily. Use the tone frequently by repeat- 
ing in it such a sentence as the following : " Eternity, 
thou awful, dreadful thought." Always use this tone 
in laughing, rather than the falsetto, so common, 
even among men. 

After this week make this the tone of ordinal 
conversation, with, of course, as soon as possible, the 
required variations in volume and pitch, as taught 
later. Notice violations of, and conformities to, the 
rule in self and others, and intelligently make needed 
corrections. An important method of determining 
whether this lesson has been conquered is to read in 
a whisper. If the throat be not strained and wearied 
by the effort it is ordinarily an evidence that the true 
method is used, and if scrained and wearied, a certain 
indication that this Sixth Lesson has not been mas- 
tered. If there is great difficulty in accomplishing 
the practice of this lesson, turn the end of the tongue 
upward and backward so that the tip points to the 
palate; then, with the tongue in this position, make 
an effort as though about to swallow the tongue. 
The " Adams' apple" will at once move down to the 
position required . Retaining the tongue and ' 4 Adam's 
apple" in these positions, make the " " sound re- 
quired. After a few efforts thus made, the sound may 
be produced in the ordinary manner. 

LESSON SEVENTH. 

To lea\c the subject of drill at the point of mastery 
of Lesson Sixth would be to leave the student with 
an easy method of voice production, yet the produc- 
tion of a voice, which, from its monotony, would be 



12 THE VOICE IN SPEAKING AND SINGING. 

unpleasant to the hearer. While, in these lessons, we 
do not treat of expression, emphasis, inflection, nor 
adaptation of voice to the character of the passage 
delivered, we place at command the tones to be used, 
under the requirements of proper heed to these points, 
whose rules and exercises are to be learned under the 
direction of competent teachers and good text books. 
There are three general principles on which depends 
the variations required in the vocal art of speaking 
and singing. 

These are volume, force and pitch. 

While volume and force arc applicable to any pitch, 
it is well to practice first on the lowest pitch or Im- 
possible. 

Each day, after practicing Lesson Sixth, produce 
the sound as many times as possible, making it a 
very little louder each time than the preceding, until 
the organs refuse to make it any more loudly. Be 
careful in this exercise not to change the pitch or ke}\ 

Working always on the same key , there will usually 
be twenty degrees of loudness attainable. This is 
called "volume." As an appeal to the eye. the fol- 
lowing may be helpful : 



•oooOOOOOO 



ooooOOOOO 



00< 

'23*567 8 9 10 II 12 13 I* IS 16 17 18 19 20 

This principle mastered will place at command, 
instead of a high, screaming tone, a large, firm voice, 
(with no danger of breaking), for emphasis and sus- 
tained passages. Such a voice will £11 the auditorium 
instead of being lost among the rafters. 

One who has these twenty- degrees of volume at 



THE VOICE IN SPEAKING AND SINGING. 13 

command will be able to adapt the voice, with no 
extra strain upon the vocal chords, to the numbers 
of the audience and the size of the building. 

Deaf people, in the social gathering or the public 
audience, hear these tones much more distinctly than 
those of higher pitch. 

In buildings with good acoustic properties, every 
seat being occupied, while the volume marked " one, " 
above, is that for ordinary social conversation, in 
addressing an audience of five hundred volume num- 
ber four should be the smallest used ; one thousand, 
volume number eight; two thousand, volume num- 
ber twelve, and so on, in each case using larger vol- 
ume, as needed, for emphasis and sustained passages. 
In all this operation the only extra exertion in using 
the larger volumes will be a stronger inward pull on 
the abdominal muscle. With this there will be a 
greater rigidity of this muscle, and where the greatest 
volume is used, this muscle will be drawn far in 
toward the backbone, and to the touch will have the 
feeling of solidity belonging to all well developed 
muscles when in most active service. 

To use the method of this lesson, produce sound, 
alone, as the abdominal muscle is moving inward, 
and recover breath, not by cutting sentences into 
panting spaces between every three or four words, 
heaving the chest, catching a short breath and so on 
continually ; but at the end of each sentence, or during 
rhetorical pauses, let the abdominal muscle fly for- 
ward, always keeping the chest well up, when the air 
will rush into the lungs as into a vacuum. Practice 
the following exercise, using at present the lowest 



14 THE VOICE IN SPEAKING AND SINGING. 

key, and employing the volume indicated by the num- 
bers employed, securing the effect of emphasis by 
pause after the chosen word. 

The numbers here employed indicate the volume 
for an audience of five or six hundred. 



44 Up the street came the rebel tread, 

4 

Stonewall Jackson riding ahead ; 

4 

Beneath his slouched hat he glanced, left and right; 

4 6 4 

The Old Flag met his sight. 
18 4 



'Halt!' and the dust browned ranks stood still. 

18 4 



4 Fire! ' Outblazed the rifle blast. 



10 8 



4 Who touches a hair of yon gra} r head, 
12 1C 19 4 



Dies like a dog! March on !' he said. " 

LESSON EIGHTH. 

Force, as stated above, is another method of 
variation in the vocal part of an address. It is the 
use of the required volume, delivered in a quick and 
explosive manner, and is accomplished by a sudden 
drawingin ofthe abdominal muscle, and a consequent 
quick expulsion of the air from the lungs past the 



THE VOICE IN SPEAKING AND SINGING. 15 

vocal chords held in proper position for the required 
sound. 

It is used in giving orders where sudden action is 
required, and also where anger, or fright, or pain, 
cause sudden exclamations. As an example, deliver 
the command of " The Douglas, " in "Lord Mar- 
mion " explosively, using the volume indicated : 
10 10 12 4 16 17 

"~<Warde"n! Hoi Let The port-culli? fall!'" 

Practice each day, after the practice of Lessons 
Sixth and Seventh, the quick, explosive effect of force 
on each of the twenty degrees of volume above. 

LESSON NINTH. 

Pitch is one of the most important methods of 
varying the effect of vocal performance. Its varia- 
tions are used by the orator in conversational deliv- 
ery, in imitating sounds given forth by animals, men 
and other sound producers, and it is that which 
makes a musical scale a possibility. Some seem natu- 
rally to properly employ its variations and some 
only upon the most careful drill under competent 
teachers. 

Beginning with the lowest pure sound, of Lesson 
Sixth, raising the pitch a very little at each effort, 
twenty different degrees of pitch may be produced. 

Produce, again and again, after each practice of 
Lessons Sixth, Seventh and Eighth, twenty different 
degrees of pitch, from the lowest to the highest, using, 
each time a sound is produced, the in ward abdominal 
pull as in all the previous vocal exercises. 

The "Adams' apple" will move from the lowest 



16 THE VOICE IN SPEAKING AND SINGING. 

position in the neck slightly higher each time the pitch 
is raised, till at last it will be at the highest point 
possible when the highest pitch is reached. 

LESSON TENTH. 

Each one of the twenty different degrees of pitch 
of Lesson Ninth may be uttered in the twenty differ- 
ent degrees of volume of Lesson Seventh, without 
varying the ke\' in the slightest. In this way four 
hundred different degrees of sound are easih r at com- 
mand, it being no more difficult, when this lesson is 
mastered, to produce the twentieth volume in the 
twentieth degree of pitch, than the first volume in 
the lowest degree of pitch, as in Lesson Sixth. This 
statement need not be considered a startling one, 
since it is claimed the fibers of Corti are 3,000 in 
number, rendering it possible to distinguish as many 
varieties of sound from various sources. A speaker 
may make use of this practice in breaking up the 
monotony of delivery, as suggested in Lesson Sev- 
enth, by occasionally delivering a few words or sen- 
tences in a higher key, but with the volume which 
would be used were this change not made. The mas- 
tery of this exercise is of especial value to singers. 
The singer who has five hundred in audience will 
strike the first note of the song in the fourth volume, 
and 3 r et use the very key in which the music is writ- 
ten, singing the whole piece in this volume, yet with- 
out changing the key of a single note. Should the 
audience be larger the volume alone will be changed 
as in Lesson Seventh. 

In the practice of this Tenth Lesson, and in its 
practical application in speaking and singing, the 



THE VOICE IN SPEAKING AND SINGING. 17 

voice must be produced in the same manner as in all 
the previous exercises. 

Daily, after the practice of the foregoing lessons, 
beginning at the lowest note in the scale of pitch of 
Lesson Ninth, produce the pure " " sound in twenty 
degrees of volume, as in Lesson Seventh in the case of 
the lowest degree of pitch, in each one of the twenty- 
degrees of pitch at command. 

The habitual use of the method outlined in these 
lessons, in every day conversation, will make it a 
second nature to those who have needed to master it, 
and thus, without especial thought, it will eventually 
become the method upon the platform, before the 
public audience. 



